Adjust your Clean Sens maybe? Plus, I don't believe the profiler handles overhead like the real amp since the profile is a snapshot of specific settings. Once you tweak a setting, you are beyond the original profile which can be good or bad.
Where is the gain knob on the Profiler? If it's not already at zero, start there.
That's not a 'bad' sound, but I realize it isn't what you're looking for.
Yeah, like BayouTexas said Clea Sens will help. Just know that if you decide to add any distortion to a clean profile, it will probably sound artificial. I usually take an amp with gain in it and dial the gain back to get a cleaner sound so that when I add gain it is a more natural sound.
I also find that many profile, that I think should be clean, have a touch of breakup as well. Low gain BF profiles as an example. I use the Evans profiles on the RE for pristine cleans. But, perhaps I don't understand clean sens well enough.
I would never presume to give advice concerning the Kemper, unknowledgeable and inexperienced with the device as I am, most especially so being surrounded hereabouts, by genuine experts.
However, it occurred to me that as you are using a Les Paul, and certain models are fitted with quite high output pickups; if the first input on the Fender amp was used (which by designed for lower output single coils) that could add distortion.
Some modern high output Les Pauls are fitted with linear pots and lowering the volume can give a great clean sound. However, distortion can be added simply by turning the volume higher to utilise the full output of the pickup/s. So, I wonder if the simple level of the pickups could be contributing factor?
That might be compensated for by adjustment on the instrument itself.
The other thought I had was that as you are utilising a mixer in your set up, I would question whether the gain staging throughout your recording signal chain is properly optimised? Either at the input gain, fader setting or output level? Too much level at any point in the signal chain, could result in unwanted distortion.
Although we tend to think of equalisation, gain and fader settings as completely different entities, its worth considering that all these differing adjustments at our disposal are in the most fundamental essence, forms of gain control.
It’s just that equalisation simply effects a boost or reduction at a preselected or built in given frequency (or range) and cross a given quality factor, (Q factor) depending on how wide or narrow the range of frequencies either side of the selected frequency are affected.
But essentially, it all involves a form of gain (level) if you can momentarily think about the matter in that way, and of course, it’s possible to optimise the gain staging so tightly, with insufficient headroom, that when equalisation is later adjusted, the gain going forward begins to overload the signal chain.
Of course, if you are using pedals or rack equipment, (Chorus and delay were mentioned), these too involve the need to carefully be properly gain staged.
Lastly, the Fender Deluxe Reverb is a 22 watt amplifier utilising 6V6 power tubes.
These differ from the 6L6 power tubes in the Fender Twin Reverb which have a rather higher clean output, before their sound begins to break up. (Audibly distort).
Therefore, there is less clean headroom available in the Deluxe Reverbs 6V6 power tubes, which are thus, more susceptible and more easily over driven into power tube distortion.
Others, more knowledgeable than me may be able to assist you more ably than I, but I trust something within the comments above may be of truly genuine assistance to you. If nothing else, food for thought!
Much of the time sounds that players have that many would consider very clean, still have an amount of distortion in them. Real clean clean sounds horrible to me,real "splatty". I have a harder time (naturally) getting clean sounds with my Les Pauls (498T) but turning the volume down works great for evening up the score. Lowering pickup volume works great with a Kemper and keeps the sound from falling out of the mix. Because it's less compressed, when you lower the knob it stays the same perceived volume but just gets cleaner... to a point.
Adjust your Clean Sens maybe? Plus, I don't believe the profiler handles overhead like the real amp since the profile is a snapshot of specific settings. Once you tweak a setting, you are beyond the original profile which can be good or bad.
No , did that many times, only increases volume. About your next remark. How do I get an original clean sound with a specific clean setting
Where is the gain knob on the Profiler? If it's not already at zero, start there.
That's not a 'bad' sound, but I realize it isn't what you're looking for.
For a clean sound my gain is always set to zero.
Do you have any distortion stomps in the rig and turned on? If the Kemper gain is at zero and there are no stomps on, it doesn't seem likely the distortion is coming from the Kemper.
Are your recordings directly from the Kemper, or the Kemper through some amp? If through anther amp, like the Marshall you described, is it also set to be clean? A clean Kemper through an overdriven amp channel is still going to be overdriven.
For me you hit the nail on the head!! Those Evans profiles are exactly what I mean: Nice crystal clear and clean sounds. Adding some chorus and delay...beautiful! Thank you so much!
Do you have any distortion stomps in the rig and turned on? If the Kemper gain is at zero and there are no stomps on, it doesn't seem likely the distortion is coming from the Kemper.
Are your recordings directly from the Kemper, or the Kemper through some amp? If through anther amp, like the Marshall you described, is it also set to be clean? A clean Kemper through an overdriven amp channel is still going to be overdriven.
Hi cmbrowns, Nothing all of this. I always use a mixer and from two inputs there to the Profiler. But now I know that there are really good clean profiles, thanks to lBieber!! He sure knows where to look. I couldn't.
Off hand, I would look at profiles of known clean amps (Fender, Vox, Supro, etc.), then I would use a low output pickup on it. If using a hot pickup then I would drop down the guitar volume knob to around 50% to keep a clean sound. And then you just raise the rig volume if needed.
As others have said, the first thing to check is Clean Sense. If this isn’t the issue then its on to gain staging throughout the full signal chain. If this all checks out then its down to rigs.
One thing to bear in mind is that it is pretty rare to hear a totally clean amp. Even the famous clean “jazz” sounds are typically a little driven. It’s this drive that creates the natural compression and makes them sit in the mix better. A truly clean amp is usually so dynamic it is unpleasant. Therefore, a healthy does of compression is required to tame this. The only really clean sounds I can think of are the ‘80’s single coil sounds. However, these were usually recorded straight into the desk with no amp. For truly sparkling cleans I would put a compressor in Stomp A and bypass the Stack Section completely.
For a clean sound my gain is always set to zero.
If gain is set at zero, the only other thing that should affect the sound like this would be any stomps in the chain, or the Dist Sens parameter (NOT the Clean Sens). Try dist sens.
If gain is set at zero, the only other thing that should affect the sound like this would be any stomps in the chain, or the Dist Sens parameter (NOT the Clean Sens). Try dist sens.
Dist Sense only affects sounds that the KPA views as distorted. It shouldn’t make any difference to clean sounds. clean Sense performs thr clean/dirty volume balance and input gain so would be appropriate for reducing breakup on clean sounds.
If gain is set at zero, the only other thing that should affect the sound like this would be any stomps in the chain, or the Dist Sens parameter (NOT the Clean Sens). Try dist sens.
Tried this but wasn't what I was looking for. Thanks anyway!
Dist Sense only affects sounds that the KPA views as distorted. It shouldn’t make any difference to clean sounds. clean Sense performs thr clean/dirty volume balance and input gain so would be appropriate for reducing breakup on clean sounds.
Heck, you're right (just looked at the latest manual). I could have sworn it was the other way around.
As Dynochrome puts it, a wholly clean tone is pretty rare. Many tones we percieve as fully clean, both live and in productions, are nearer breakup than we think.
As Dynochrome puts it, a wholly clean tone is pretty rare. Many tones we percieve as fully clean, both live and in productions, are nearer breakup than we think.
Tim Pierce refers to this as "registering" as clean. As in - there *is* some bite on it...but no one listening can hear it. Many times - a truly squeaky-clean tone can sound dull and lifeless.
Country playing is a good example.....it may sound clean on a recording. But man, it's *so* close to break up. That's one of the things that give note so much pop.
